Historians have long tried to place the music of Haydn and Mozart in the lineage of German Lutheran music. In this book, Daniel Heartz shows that the first Viennese school grew from a Catholic inheritance in Italian music and from local tradition, with an admixture of French currents. The generation of composers led by Haydn no longer trained in Italy. By the time young Mozart joined the ranks of the Viennese school, its accomplishments towered above all others of the time. The author's approach can be compared to viewing a majestic mountain range in its totality: the highest peaks take on even greater majesty when seen in their natural context of foothills and lesser peaks. This is how Haydn and Mozart were viewed by their contemporaries, whose world of perception Heartz recreates, using, among other things, the visual art of the period. His focus is on music as a part of cultural history at a particular time and place. Stylistic terms and a priori periods matter less to him than the common denominators of geography, culture, and political history. Book jacket.
Renowned Mozart scholar Daniel Heartz brings his deep knowledge of social history, theater, and art to a study of the last and great decade of Mozart's operas. Mozart specialists will recognize some of Heartz's best-known essays here; but six pieces are new for the collection, and others have been revised and updated with little-known documents on the librettist's, composer's, and stage director's craft. All lovers of opera will value the elegance and wit of Professor Heartz's writing, enhanced by thirty-seven illustrations, many from his private collection. The volume includes Heartz's classic essay on Idomeneo (1781), the work that continued to inspire and sustain Mozart through his next, and final, six operas. Thomas Bauman brings his special expertise to a discussion of Die Entführung aus dem Serail (1782). The ten central chapters are devoted to the three great operas composed to librettos by Lorenzo da Ponte—Le nozze di Figaro (l786), Don Giovanni (l787), and Così fan tutte (l790). The reader is treated to fresh insights on da Ponte's role as Mozart's astute and stage-wise collaborator, on the singers whose gifts helped shape each opera, and on the musical connections among the three works. Parallels are drawn with some of the greatest creative artists in other fields, such as Molière, Watteau, and Fragonard. The world of the dance, one of Heartz's specialties, lends an illuminating perspective as well. Finally, the essays discuss the deep spirituality of Mozart's last two operas, Die Zauberflöte and La Clemenza di Tito (both l79l). They also address the pertinence of opera outside Vienna at the end of the century, the fortunes and aspirations of Freemasonry in Austria, and the relation of Mozart's overtures to the dramaturgy of the operas.
A glittering cultural tour of Europe's major capitals during a period of intense musical change. This volume continues the study of the eighteenth century begun in Haydn, Mozart, and the Viennese School 1740–1780 (1995) by focusing on the capital cities other than Vienna that were most important in the creation and diffusion of new music. It tells of events in Naples, where Vinci and Pergolesi went beyond their pre-1720 models to cultivate opera in a simpler, more direct manner, soon after christened the galant style. No less central was Venice, where Vivaldi perfected the concerto, on which were patterned the early symphonies and the newer kind of sonata. Dresden profited first from all these achievements and became, under Hasse's direction, the foremost center of Italian opera in Germany. Mannheim with its great orchestra did much to shape the modern symphony. A few years later, Paris became paramount, especially for its Opéra-Comique; during the 1770s the Opéra provided Gluck with a stage on which to cap his long international career. The book concludes with a description of Christian Bach in London, Paisiello in Saint Petersburg, and Boccherini in Madrid. This long-awaited book offers a view of eighteenth-century music that is broad and innovative while remaining sensitive to the values of those times and places. One comes away from it with an understanding of the European context behind the triumphs of Haydn and Mozart. Lavishly illustrated with music examples and reproductions, both in black-and-white and color, this master study will be of inestimable importance to scholars, cultural historians, performers, and all music lovers.
Heart Imagery - A Path to Enlightenment is a continuation of the book This Now is Eternity, revealing exercises and meditations related to the most ancient spiritual system: Heart Imagery. It is a treasure full of advice, meditations and exercises that come directly from two of the last Great Masters of Heart Imagery. These Masters lived in the Tibetan area, but that isn’t relevant. Like other Great Masters of Imagery (Anastasia from Russia, Colette Aboulker-Muscat from Jerusalem and Ana Pricop from Romania), the location and the time during which they lived was of no consequence. They were able to change anything: the past, the present and the future. They could reverse any action or thought. This is beyond our understanding. Remember that everything around you is a dream and that you can awaken at any moment if you really wish to. Daniel Mitel For more information, visit: www.danielmitel.com & www.heartimagery.org
A Change of Heart is a detailed account of the revolutionary Framingham Heart study — which, over the years, has provided conclusive evidence that cardiovascular disease is largely the result of measurable and modifiable risk factors. First begun in 1948, not long after Franklin Delano Roosevelt succumbed to a massive stroke, the study of over 5,000 citizens of Framingham, Massachusetts, changed the course of medical history. The lessons learned in Framingham allow each of us to control our risk of heart disease and stroke, two of the leading causes of death in the United States. Here is a clear-eyed and intriguing assessment of the achievements of this study and of its continuing importance to our health today.
A Change of Heart is a detailed account of the revolutionary Framingham Heart study — which, over the years, has provided conclusive evidence that cardiovascular disease is largely the result of measurable and modifiable risk factors. First begun in 1948, not long after Franklin Delano Roosevelt succumbed to a massive stroke, the study of over 5,000 citizens of Framingham, Massachusetts, changed the course of medical history. The lessons learned in Framingham allow each of us to control our risk of heart disease and stroke, two of the leading causes of death in the United States. Here is a clear-eyed and intriguing assessment of the achievements of this study and of its continuing importance to our health today.
Daniel Heartz's all-new, richly documented case studies bridge generations, nationalities, genders, musical styles, and artistic schools. The soprano castrato Farinelli and the Venetian Rococo painter Jacopo Amigoni formed a friendship that lasted for many years. A generation later, in Paris, the pastellist Maurice-Quentin de La Tour expressed his love for the greatest French soprano of her age, Marie Fel, in an intimate portrait. The other studies provide glimpses into the lives of the artists Antoine Watteau, Rosalba Carriera, Thomas Gainsborough, Sir Joshua Reynolds, Antoine Vestier, and François-André Vincent, the opera singers Faustina Bordoni and Rosalie Duplant; composers Johann Adolf Hasse, Johann Christian Bach, Antonio Sacchini, and Francois-Joseph Gossec, the gamba virtuoso Karl Abel, the music historian Charles Burney, and the Riccoboni troupe of comédiens italiennes. Besides Heartz's several pairings of artists and musicians, the collection contains ground-breaking studies by John A. Rice on the royal painter Elisabeth Vigée-Lebrun and the opera composer Giovanni Paisiello, and by Paul Corneilson on Thomas Gainsborough's little-known portrait of the Mannheim soprano Franziska Danzi-Lebrun.--
This [thesis] is set against the backdrop of [the] four paths or seasons of the heart, [Via Positiva, Via Negativa, Via Creativa, and Via Transformativa]...In these reflections [the author has] chosen the heart as the symbol of the mysticism of creation. Around this unifying center a pattern is woven where many shades and shapes of creation-centered spirituality find a new, positive and simple design. The heart-motif draws on some popular insights from the worlds of psychology, science and theology in the effort to offer this introduction to a secular, incarnational and creation-centered model of spirituality. One of the aims of the presentation is to offer a basis for an intrinsic, holistic and dynamic alternative to a dualistic, limiting and static understanding of Christianity." -- from the introduction, p.[1],4.
Historians have long tried to place the music of Haydn and Mozart in the lineage of German Lutheran music. In this book, Daniel Heartz shows that the first Viennese school grew from a Catholic inheritance in Italian music and from local tradition, with an admixture of French currents. The generation of composers led by Haydn no longer trained in Italy. By the time young Mozart joined the ranks of the Viennese school, its accomplishments towered above all others of the time. The author's approach can be compared to viewing a majestic mountain range in its totality: the highest peaks take on even greater majesty when seen in their natural context of foothills and lesser peaks. This is how Haydn and Mozart were viewed by their contemporaries, whose world of perception Heartz recreates, using, among other things, the visual art of the period. His focus is on music as a part of cultural history at a particular time and place. Stylistic terms and a priori periods matter less to him than the common denominators of geography, culture, and political history. Book jacket.
A glittering cultural tour of Europe's major capitals during a period of intense musical change. This volume continues the study of the eighteenth century begun in Haydn, Mozart, and the Viennese School 1740–1780 (1995) by focusing on the capital cities other than Vienna that were most important in the creation and diffusion of new music. It tells of events in Naples, where Vinci and Pergolesi went beyond their pre-1720 models to cultivate opera in a simpler, more direct manner, soon after christened the galant style. No less central was Venice, where Vivaldi perfected the concerto, on which were patterned the early symphonies and the newer kind of sonata. Dresden profited first from all these achievements and became, under Hasse's direction, the foremost center of Italian opera in Germany. Mannheim with its great orchestra did much to shape the modern symphony. A few years later, Paris became paramount, especially for its Opéra-Comique; during the 1770s the Opéra provided Gluck with a stage on which to cap his long international career. The book concludes with a description of Christian Bach in London, Paisiello in Saint Petersburg, and Boccherini in Madrid. This long-awaited book offers a view of eighteenth-century music that is broad and innovative while remaining sensitive to the values of those times and places. One comes away from it with an understanding of the European context behind the triumphs of Haydn and Mozart. Lavishly illustrated with music examples and reproductions, both in black-and-white and color, this master study will be of inestimable importance to scholars, cultural historians, performers, and all music lovers.
Renowned Mozart scholar Daniel Heartz brings his deep knowledge of social history, theater, and art to a study of the last and great decade of Mozart's operas. Mozart specialists will recognize some of Heartz's best-known essays here; but six pieces are new for the collection, and others have been revised and updated with little-known documents on the librettist's, composer's, and stage director's craft. All lovers of opera will value the elegance and wit of Professor Heartz's writing, enhanced by thirty-seven illustrations, many from his private collection. The volume includes Heartz's classic essay on Idomeneo (1781), the work that continued to inspire and sustain Mozart through his next, and final, six operas. Thomas Bauman brings his special expertise to a discussion of Die Entführung aus dem Serail (1782). The ten central chapters are devoted to the three great operas composed to librettos by Lorenzo da Ponte—Le nozze di Figaro (l786), Don Giovanni (l787), and Così fan tutte (l790). The reader is treated to fresh insights on da Ponte's role as Mozart's astute and stage-wise collaborator, on the singers whose gifts helped shape each opera, and on the musical connections among the three works. Parallels are drawn with some of the greatest creative artists in other fields, such as Molière, Watteau, and Fragonard. The world of the dance, one of Heartz's specialties, lends an illuminating perspective as well. Finally, the essays discuss the deep spirituality of Mozart's last two operas, Die Zauberflöte and La Clemenza di Tito (both l79l). They also address the pertinence of opera outside Vienna at the end of the century, the fortunes and aspirations of Freemasonry in Austria, and the relation of Mozart's overtures to the dramaturgy of the operas.
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